Complete v9.6 9 May 2017 MAC

PlatenseSoul | 10.05.2017 | 2.76 GB

AU/VST/VST3/AAX/RTAS/STANDALONE 32/64

eMotion LV1 is a revolutionary digital mixing console for front-of-house, monitor and broadcast engineers. Based on SoundGrid technology, this software mixer delivers the superior sound quality for which is renowned, as well as the quick and convenient workflow needed in demanding live environments.

May 9th, 2017/Changues:
– The new Grand Rhapsody Piano available separately.

BR Audio Plugin Pack v1.8.0 WiN

Team V.R | May 11 2017 | 68 MB

Vintage EQ Bundle, comprising the VHL-3C and VEQ-5 passive equalizer circuit emulations, inspired by two of the most renowned classics from the 50s. The VLA-3A takes aspects from its predecessor and combines it with a discrete solid-state circuitry. It still maintains the classic T4 based opto-compressor sound but features a quicker, brighter and more modern response.

AAX support– All BR Audio plug-ins finally support the AAX native format and can now be run in ProTools 10 or newer.

What’s NewOverview: Accurately modeled after the original 70s Blueface version of a classic and sought-after VCA compressor the SC-5 opens up a whole world of versatility: You‘re going for super gentle compression to sweeten the signal on your master buss? You‘re looking for a distorted, smashed-up sound on your drum buss? You want to tame lively and dynamic material? The Blueface SC-5 handeles it all. The fullblown set of parameters allows you to dial in just the right setting for your application. Yet it always maintains its own pleasant and characteristic tone.

ValhallaPlate v1.5.0 VST x86 x64 WiN

P2P | 12.05.2017 | 3.77 MB

You will ride eternal, shiny and chrome.

ValhallaPlate is our algorithmic take on the classic plate reverberation sound. Twelve original algorithms emulate the sound and behavior of real world steel plate reverbs, and take the sound into dimensions that physical plates can’t touch.

ValhallaPlate realistically models the physics of plate reverbs:

High diffusion, for reverbs that have maximally high echo density.

Frequency dependent decay time, for huge lows and clear highs, under the control of a single Decay parameter.

Dispersion, for creating 3D imaging in the decay. The reverb comes from outside the speakers, and decays into the depths behind the speakers.

ValhallaRoom v1.5.1 VST x86 x64 WiN

P2P | 12.05.2017 | 3.46 MB

An algorithmic vision of perfection and precision. It’s Grade A class, Number One in its division. ValhallaRoom is a versatile, true stereo algorithmic reverb. It features twelve original reverberation algorithms (including the latest Dark reverb modes, Nostromo, Narcissus, Sulaco and LV-426), and produces a wide range of natural reverberation sounds. Sounds range from tight ambiences and rooms, through traditional hall and plate sounds, all the way up to vast modulated spaces. The algorithm designs have been influenced by some of the “classic” room simulation boxes, as well as state of the art modern theory.

Description:

Unique Early reverb section allows user to dial in subtle and short bursts of early reverberation energy, as well as gated reverbs up to 1 second in length.

The Late section produces natural reverb decays ranging from 0.1 seconds to 100 seconds. The decay can be controlled in 3 adjustable frequency bands.

Both Early and Late reverb sections have adjustable modulation, to produce sounds ranging from lush chorusing, to subtle and natural long decays.

ValhallaRoom is true stereo. The Early and Late reverb sections are both stereo-in, stereo-out. The spread of energy between the stereo channels can be controlled over time, which helps preserve the input spatial image.

The GUI has been designed for easy navigation, and is inspired by Joseph Müller-Brockmann, NASA control panels, and Sesame Street.

Resizable GUI. Make it really big, or really tiny, or whatever suits you best.

New in 1.5.1: Redesigned GUI! Better use of space, and 2 user-selectable color schemes (Electric Blue and Old School).

Large Chamber. Smooth decay with consistent high echo density and subtle detuning modulation.

Dark Room. A hybrid between the grungy early digital reverbs and the modern algorithms found in ValhallaRoom, with reduced high frequency content, noisy yet lush randomized modulation, a HUGE spatial image, echo density ranging from grungy to dense while retaining clarity, and tons of mojo.

Dark Chamber. Similar to the original Large Chamber algorithm, but bigger and darker, with deeper detuning modulation.

Narcissus. Dark, lush, wide, with random modulation that quickly builds into rich chorusing. The little sibling of Nostromo, but it is still big. Designed for low CPU consumption.

Sulaco. Dark with lush modulation, and a well-centered stereo image. The Late Size control can sweep the reverb from tight rooms to vast echoing spaces.

LV-426. A dark, deep space reverb, with the wide spatial image of Nostromo and Narcissus, but with a much higher initial echo density than either of those reverbs. LV-426 has a somewhat slower attack than the other modes, and has highly diffuse random modulation for lush decays.

Dense Room. Similar to Large Room, but with a denser distribution of early echos, and a tone that is brighter while still having the “darkness” of the Dark algorithms. Great for snare drums!

VintageVerb v1.7.1 VST x86 x64 WiN

P2P | 12.05.2017 | 4.16 MB

Listen: Valhalla DSP has come unstuck in time.

ValhallaVintageVerb is a postmodern reverb plugin, inspired by the classic hardware digital reverbs of the 1970s and 1980s. New in ValhallaVintageVerb 1.7.1: Two new reverb modes, Chaotic Hall and Chaotic Chamber!

17 Reverb Algorithms:

Concert Hall. Based on the hall algorithms of the late 1970s and early 1980s. Huge spatial image, echo density that can be adjusted from very sparse to very dense, and lush chorusing modulation.

Bright Hall. Similar to the Concert Hall algorithm, but with a brighter initial sound, and deeper and lusher modulation.

Random Space. This generates DEEP and WIDE reverbs, with a slow attack, and more diffusion than the late 1980s algorithms that inspired it. The modulation uses internal delay randomization, to reduce metallic artifacts without the pitch change that can occur in the algorithms with chorused modulation.

Chorus Space. Same as Random Space, but with the delay randomization replaced with lush chorused modulation.

Ambience. Combines time varying randomized early reflections with a full-featured reverb tail, with the balance between early and late reverb controlled by the Attack knob. Useful for adding “air” to drums, vocals, and any place where a reverb should be felt but not heard.

Sanctuary. Inspired by a classic German digital reverberator from the 1970s. Discrete early reflections, a dense late reverb that rapidly builds in echo density, lush detuned modulation. Sanctuary incorporates the bit reduction and floating-point gain control used in the A/D and D/A convertors of the early digital hardware.

Dirty Hall. A fresh look at the Concert Hall algorithm, with the goal being to emulate the strange fixed point and convertor artifacts of early 80s reverb hardware. Lusher and denser than the Concert Hall algorithm, with loads of warmth and grit on tap, for a roughly hewn beauty. Plug in your analog synth and send yourself into retro sci-fi heaven.

Dirty Plate. All the warm and gritty artifacts of Dirty Hall, applied to an old-school digital plate algorithm. High echo density, wide stereo image, and just the right amount of metallic sheen. Drums come alive when sent through Dirty Plate.

Smooth Plate. The complete opposite of Dirty Plate. Smooth decay at all settings, from short to near-eternal. Lush chorusing, with none of the metal found in Dirty Plate. The most transparent and naturalistic reverb in ValhallaVintageVerb. Crank up the Size parameter, and float off into space!

Smooth Room. A smooth and transparent room reverb, in the Smooth Plate style. Useful for emulating the Room/Hall algorithms of late 1980s hardware, as well as getting clear reverberation with low amounts of coloration.

Smooth Random. A random room/hall algorithm, with transparent decays that can be adjusted from tiny to huge. Randomized delay modulation, similar to Random Space, but with a much tighter initial attack and smoother decay. A good “jack of all trades” reverb algorithm.

Nonlin. Gated, reverse, and nonlinear reverbs are all on tap here. Use Size to control the duration of the reverb, and Attack to smoothly interpolate between a truncated reverb, a “flat” gated decay, and huge reverse reverbs. Lush chorusing modulation on tap, for your shoegazing needs.

Chaotic Hall (new in 1.7.1). A chaotic take on the Concert Hall algorithm, with modulation and saturation artifacts inspired by classic tape echoes. Lush and warm, with subtle wow and flutter chorusing that adds depth without making your reverb seasick.

Chaotic Chamber (new in 1.7.1). Smooth and chaotic at the same time. A relatively “dimensionless” reverb algorithm, that adds depth to your sound. Wow and flutter modulation, subtle tape saturation. Use this algorithm on pretty much any input, and it will sound good.

3 Color Modes for dialing in the tone color and sonic artifacts of a specific reverb era:

1970s. Replicates the reduced bandwidth of the earliest digital reverberators (10 kHz maximum output frequency). Downsampled internally, to reproduce the artifacts of running at a lower sampling rate. The modulation is dark and noisy, and can produce strange and random sidebands with sustained notes. This is intentional.

1980s. Full bandwidth / sampling rate, for a brighter sound than the 1970s. The modulation is still dark and noisy, but will produce different artifacts than the 1970s mode as it is running at the full sampling rate.

NOW. Full bandwidth / sampling rate. The modulation is clean and colorless, versus the funky artifacts of the 1970s/1980s modes.

The interface has been designed to be instantly accessible and user friendly:

Streamlined set of powerful parameters, organized into logical categories.

All controls on one panel. No menu diving required.

Tooltips at the bottom of the plugin window, that describe the currently selected reverb mode and color mode, as well as any parameters the user is adjusting. The goal is for the plugin to be self-documenting.

An introduction to Sound Design & Mixing films in Pro Tools TUTORiAL

P2P | 11.05.2017 | 1.09 GB

This class gives an introduction to the core principals of film sound design and mixing. Students will be exposed to core principles in setting up a session, selecting and layering sounds, working with online sound libraries, working with a foley artist, syncing audio to picture, cutting techniques and mixing. This course will be taught using a scene from the forthcoming feature film LIKE LAMBS. Students will have access to an except of this film and the audio files used to construct its sound design so they can have hands on experience. This course assumes at least a rudimentary knowledge of working with audio in Pro Tools.

Remixing Dance Music: Digital Production Basics TUTORiAL

P2P | 11.05.2017 | 1.2 GB

Song remixes can be a great way to crack into the music industry and build your name as a producer. In this 60-minute class, you’ll follow along as he builds a remix from scratch – a skill that has been instrumental in getting him to where he is today.

You’ll learn:
– How to define the purpose of your remix – where will it be played?
– Creating a groove for your new version of the song with baselines and leads
– Utilizing percussion to set the tempo
– Adding in transitions to polish a track
– Including intros and outros so DJs can easily feature your track in a mix
– Tips on sharing and spreading the track
– Whether you’re a seasoned producer or an aspiring up and comer, this class will give you the ins and outs for what you should consider when creating a dance remix meant to get spins. After going through the lessons, you’ll share a remix of your own.

Professional Sound Without the Studio TUTORiAL

P2P | 11.05.2017 | 969 MB

Learn to mix tracks and achieve professional quality music, all through a laptop and a basic set of headphones. On the road most of the year, renowned DJ and producer King Arthur has turned mixing music on the go into an art form.

In this 30-minute class, K.A. teaches you to mix your own music by:
– Referencing existing tracks you love and matching their levels
– Breaking down your track’s layers and frequencies
– Utilizing filters to isolate specific elements of the track
– Detailing the relationship between each instrument and sound
– You’ll finish this class with the ability to add a professional touch to your tracks, allowing DJs to give you spins and more people to enjoy your music.

INFO/DEMO:http://skl.sh/2q8mqSs Audio Mixing on the Go: Professional Sound Without the Studio TUTORiAL http://beelink.in/32497/Professional-Sound-Without-the-Studio-TUTORiAL.html

The Art of Mixing DVD

TNT | 01.02.2006 | 4.16 GB

DVD Video / 720×480, 29 fps / 48.000 kHz, 192 kbps

David Gibson’s hugely popular the Art of Mixing, the book that has taught a generation of mixing engineers, comes to life with more than 2 hours of vivid, animated instruction on one feature-packed DVD! With Gibson’s exclusive 3-dimensional framework, you’ll learn the right way to create every style of mix for any style of music.

The Art of Mixing DVD-TNT http://beelink.in/32500/The-Art-of-Mixing-DVD-TNT.html

Introduction to Video Sound Design TUTORiAL

P2P | 11 May 2017 | 672 MB

When it comes to storytelling through film or video, sound design is crucial to the success of your narrative. This course explores the history of video sound design, and helps you understand the workflow, development, and elements of a successful soundtrack. Scott Hirsch starts with the basics, discussing the history and legacy of sound for film, and working through the core concepts and elements of a compelling sound design. Next, he takes you through a sound design workflow, highlights the different elements of a soundtrack, and shows professional examples of sound design in a few real-world projects. He also explores the future of the soundtrack, discussing the core concepts of immersive audio, as well as real-world applications of 3D audio.

Topics include:
* The history and legacy of sound for film
* The role of sound in visual media
* The elements of a soundtrack
* Following a sound design workflow
* Editing dialogue and producing sound
* The role of sound effects
* Mixing a soundtrack
* Exploring the future of sound for visual media
* Core concepts of immersive audio